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KAMINEY, double roles and quotient of success



Enkayaar, Bollywood Trade News Network
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It is one of the apparent paradoxes of the Indian cinema that whenever an evil streak in the character has to be shown the character would invariably have a double role, one of the roles would be having the mean streak and he would invariably not be having a girl friend, but a friend, who in the light of the amendments in Article 377 of the Indian constitution be construed as having gay affiliations. KAMINEY is no exception to the rule. However whispers are being generated about the role of Charlie in KAMINEY having streaks of gay tendencies in the character. But is it not reading too much between the lines!

If that being so, then the score of double roles that various actors have enacted for quite a long time could be bracketed under this category, and if it being so, then Hindi cinema would emerge as one of the biggest proponents of gay-relationships, though the makers of these films may not be having any idea in this regard.

CHECK OUT: Despite flu, KAMINEY rocks box-office, grosses 33 crores!

As a matter of fact the double role of KAMINEY is more following the leak of the cast where the evil of character is being portrayed through another character instead of allowing the same to be displayed through a single character. If Vishal Bhardwaj's portrayal of Charlie is being seen in some quarters as subtle display of gay-relationship, then what would one construe about the relationship that Saif Ali Khan had with Deepak Dobriyal in OMKARA. They were shown as bonding like anything in OMKARA.

Vishal Bhardwaj is a hard-core follower of the great bard William Shakespeare and draws his inspiration more from the characters that Shakespeare built through scores of his writing, KAMINEY being no exception. The character of Charlie is a unique portrayal etched by Vishal Bhardwaj and it should not be bracketed under the "gay" category, as it sorts of diminishes the inputs that Shahid Kapoor brought into the character. KAMINEY as a matter of fact is a significant milestone in the Indian cinema and seeking such interpretations from it should not dilute the achievement.



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